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Two Volumes by Hwei-Fe'n Cheah a Thesis PHOENIX RISING NARRATIVES IN NONYA BEADWORK FROM THE STRAITS SETTLEMENTS, 1870 TO THE PRESENT Two Volumes By Hwei-Fe'n Cheah A thesis submitted for the degree of Doctor of Philosophy of The Australian National University October 2005 ACKNOWLEDGEMENTS This research reflects a long-standing interest in needlework. However, neither its commencement nor its realisation would have taken place without the support and guidance of my supervisor, Robyn Maxwell. Her enthusiasm for and dedication to the study of textile history has been a crucial source of intellectual stimulation and inspiration for me. My advisers, Ian Proudfoot and Andrew Montana, provided insightful feedback and encouragement throughout. I am deeply grateful to them. Extensive fieldwork would not have been possible without the funding from the Australian National University in 200212003 and the research grants from the Pasold Research Fund in the United Kingdom and the Bead Society of Greater Chicago in 2004. I am especially grateful to three individuals for their assistance with my research and their encouragement. Ken Yap in Kuala Lumpur allowed me to examine his collection ofPeranakan artefacts. Peter Lee in Singapore provided access to private papers and photographs. Both of them also provided vital introductions to collectors, and continued to send me images of objects and information when I was in Australia. Valerie Hector not only showed me interesting examples of beadwork and advised me on beadwork techniques, but also generously shared with me her unpublished research on Chinese beadwork, informing me of sources I would not otherwise have learnt about. Many other individuals and institutions assisted me with this research in different ways. I am grateful to Margaret Chew, Felicity Ho, Cheryl-Ann Low, Mrs Mathews Shu Quo at the Convent ofthe Holy Infant Jesus, and Thai Poh Tin in Singapore; Khoo Salma Nasution and Louisa Teoh in Penang; Jocelyn Chatterton in London; Rudolph Smend in Germany, and Barbara Leigh and Chek Ling in Australia for providing invaluable introduction to Nonyas and collectors. This thesis would not have taken its current form if not for the collectors, antique dealers, and Peranakans who willingly allowed me to examine their collections of beads, beadwork and embroidery, and photographs. For this, I am grateful to Alice Choo, Yvonne Khoo, C.C. Koh, Elizabeth Lee, Dorcas Lim, Lye Wai Choong, Ng Ah Choon ofGuan Antiques, Grace Saw, Bebe Seet of Rumah Bebe, Jenny Soon, Peter Wee of Katong Antiques House, Regina Wong, and a private collector in Singapore; 1 Mrs Chan Kim Sinn, May May Chwee at Chin Teck Antique Curios, Low Doon Kit at Malacca Antiques, Mohanna and Kamachee Pillay, Phillip and Michelle Siow at P&M Antiques, Thomas Tan, and Yeo Guat Sing at Wah Aik Shoemaker in Melaka; Michael Cheah, Datin Theresa Goh, Jonah Lee at Jonah's Antiques, C.H. and Kathleen Lim at Oriental Arts and Antiques, Richard Lim at Mei Tatt Antiques, Victor Tan at Pen­ Antique, Anna Tay at Pearl Island Collection, and Zakaria Basheer and his family in Penang; Sim Tan, Joseph and Katherine Sim, and Chan Yue Yee in Kuala Lumpur, Susan Herbert and Stefany Tomalin in London; John Gillow in Cambridge; Luigi Cattelan in Murano in Venice; and J. Smith at Suji Treasures in Queanbeyan in Australia. A number ofthem also introduced me to Nonyas and other collectors. I would also like to express my gratitude to Mr and Mrs Chan Kim Sinn and Tan Siok Choo and Walter Cheah for their hospitality in Melaka. I thank Katherine Hor (now at the Police Heritage Centre), Lim Yi Lyn, Cheryl-Ann Low, and Alex Ong at the Singapore History Museum, staff at the Oral History Centre and the Picture Collection at the National Archives of Singapore; Khoo Boo Chi a, Director of the Penang State Museum; Carol Cains (now at the National Gallery of Victoria), Robyn Maxwell, Michael Fensom-Lavender, Micheline Ford, and Lucie Folan at the National Gallery of Australia in Canberra; Attilia Dorrigato and Mr. Pezzatto at the Museo Vetrario di Murano in Venice; David van Duuren at the Tropenmuseum in Amsterdam; Pieter ter Keurs, Ester de Bruin, and David Stuart-Fox at the Rijksmueum voor Volkenkunde in Leiden; Pim Westerkamp, Paula Vosges, and Marga Schoemaker at the Gemeente Musea Delft, Museum Nusantara; and Hanneke van Zuthem and Anca Egas at the Nederlands Openluchtmuseum in Arnhem in the Netherlands; Divia Patel, Helen Persson, and Shashi Sen at the Victoria and Albert Museum in London; Katherine Carlton at the Embroiderer's Guild in Surrey in the United Kingdom; Petr NovY and Sarkei Sivickova at the Muzeum Skla a Bifuterie in Jablonec nad Nisou, Czech Republic; the staff at the Anthropology Department ofthe Field Museum of Natural History in Chicago, particularly Bennett Bronson, Isabel Neri, Chris Phillip, and Steven Nash; and staff at the Huntington Library in San Marino, California in the United States for accommodating my requests for information, images of objects and access to collections. Without the voices of the Peranakans themselves, this research would be all the poorer. J. Chan, Chee Lak Neo, Neo Kim Neo, Agnes Tan, Celia Wee, and Josephine Wee in ii Singapore; 00 Leng Choo and Sally Phuah in Penang; and Mrs Ong Chin Yam and Judy Chan in Melaka shared their recollections with me. Pranee Sakulpipatana in Thailand responded to my queries about Phuket Peranakans. Kenny Chan, Noreen Chan, Shirley Goh, Angeline Kong, Lee Saw 1m, Jenny Loo, Helena Teo, Katherine Sim, and their friends were somewhat bemused by my request but willingly allowed me to photograph the beaded slippers they were wearing. I would like to thank them for their time and openness. I would also like to express my gratitude to Chris Hall in Hongkong for keeping me informed of the Chinese beadwork in his collection over the past three years; and to Carrie Beauchamp at the Smithsonian Institution, National Museum of Natural History in Washington; Terence Cheung at the Hong Kong Museum of History, Gary Dickinson at Linda Wrigglesworth in London; and Karen Barrett at the Queensland Museum in Australia for providing images of non-Nonyabeadwork. Many others obligingly answered my queries. I am grateful to Andrew Cooper at the Sandown Racecourse, Craig Clunas of the University of London, Caroline Crabtree, Richard Green, Neil Khor, Su Lin Lewis, Anne Morrell, Fiona Thurnell of the British Horse Society in the United Kingdom; DMC in Paris; Barbara Lawson of the Redpath Museum, McGill University; Valery Garrett in Hongkong; Donald Harper, Lily Kong, and Daven Wu in Singapore; Simon Bronitt at the Australian National University, Victoria Cattoni, Marge Cross at the Embroiderer's Guild in Victoria, Christine Dixon, Bruce Kercher at Macquarie University, Mavis Moo, and Judith Rutherford in Australia. Borek Tichy in the Czech Republic; Jamey Allen, the late Peter Francis Jr., and Alice Scherer in the United States; Margret Carey, Margaret Hutchinson, Carole Morris, and Stefany Tomalin in the United Kingdom; and Karlis Karklins in Canada responded to my queries on aspects of glass seed beads and beadwork. Karlis Karklins also provided helpful comments on my analysis ofthe bead trade in the Straits Settlements. Ladislav Nejman, Twan Huybers, and Sjoukje de Vries helped with Czech and Dutch language material. Alexis Yeadon in the US Information Resource Centre in Canberra and Martin Manning at the International Information Programs of the US Department of State in Washington; Ang Seow Leng at the National Library of Singapore; and especially Ann-Marie Boyd at the Menzies Library at the Australian National 111 University helped me obtain bibliographic material. Paul Johns in the Faculty of Arts helped me to solve some knotty technology woes. I would like to thank them for their assistance. Amy Liu willingly translated Chinese script and reminded me of the more humorous side of the thesis-writing experience. I appreciated this greatly. Finally, lowe a debt of gratitude to my tremendously supportive family, especially my aunts, Chin Choo and Phaik Sim, and my uncle, Theam Kheng for gathering material on Peranakan cultural events in Singapore and Malaysia; Oreste and Claudia for assuming many of my domestic concerns over this period; my parents and brothers for their ready assistance with travel arrangements and their years of unwavering encouragement; and of course, my husband, Max, whose inimitable understanding has sustained me throughout. IV ABSTRACT Until the first half of the twentieth century, Nonya beadwork and embroidery were important means of textile decoration for the Peranakans, the acculturated Chinese settlers in the Straits Settlements and the Netherlands Indies. Intricate and visually distinctive, Nonya beadwork is now regarded as a visual marker of a quaint Peranakan past. Its amalgamation of local, Chinese, and European influences is seen as a testimony to the celebrated hybridity of the Peranakan heritage. Yet despite the wealth of research on Southeast Asian textiles and the current intensification of interest in Peranakan material culture, no rigorous art historical study on Nonya beadwork has thus far been undertaken. This study contributes to the scholarship of Southeast Asian textile history by focusing on the relatively neglected area of needlework, demonstrating its potential as a source of cultural and historical information. This thesis also expands the perspectives on Peranakan Chinese decorative art by focusing on the historicity of Nonya beadwork, both as object and activity, such that beadwork becomes a tool with which to probe the social and symbolic world of the Peranakans. As an activity, beadwork was considered to be an important part of a Peranakan girl's set of skills. As an object, carefully crafted Nonya beadwork was used as ornamentation for weddings, as part of the gift exchange from a bride to a groom and his family, and as dress accessories for Chinese New Year and important celebratory occasions.
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